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E-raamat: Woodwinds: Perform, Understand, Teach: Perform, Understand, Teach [Taylor & Francis e-raamat]

(Louisiana State University)
  • Formaat: 262 pages, 6 Tables, black and white; 50 Line drawings, black and white; 25 Halftones, black and white
  • Ilmumisaeg: 30-Jun-2016
  • Kirjastus: Routledge
  • ISBN-13: 9781315649115
Teised raamatud teemal:
  • Taylor & Francis e-raamat
  • Hind: 175,41 €*
  • * hind, mis tagab piiramatu üheaegsete kasutajate arvuga ligipääsu piiramatuks ajaks
  • Tavahind: 250,59 €
  • Säästad 30%
  • Formaat: 262 pages, 6 Tables, black and white; 50 Line drawings, black and white; 25 Halftones, black and white
  • Ilmumisaeg: 30-Jun-2016
  • Kirjastus: Routledge
  • ISBN-13: 9781315649115
Teised raamatud teemal:

The Woodwinds: Perform, Understand, Teach provides comprehensive coverage about the woodwind family of musical instruments for prospective instrumental music teachers. What sets this book apart is its focus on how to teach the instruments. Preparing students in the how of teaching is the ultimate goal of the woodwind class and the ultimate goal of this book, which organizes information by its use in teaching beginning instrumentalists.

In developing performance and understanding, pre-service teachers are positioned to learn to teach through performance—contrasted with an "old-school" belief that one must first spend much time tediously trying to understand how things work before playing the instruments.

The book is organized in three parts: Preliminaries, Teaching the Instruments, and Foundations. Chapters in Teaching the Instruments are organized by instrument (flute, clarinet, saxophone, oboe, bassoon) and, within each instrument, according to how an effective teacher might organize experiences for novice learners. Basic embouchure and air stream are covered first, followed by instrument assembly, then hands and holding. Embouchure coverage returns in greater depth, then articulation, and finally "the mechanism," which includes sections on the instruments of the family, transposition, range, special fingerings, tuning and intonation, and reeds. In Foundations, topics are situated in big picture contexts, calling attention to the broad applicability of information across instruments.

List of Illustrations
viii
Preface xiii
PART 1 PRELIMINARIES
1(16)
1 Woodwinds in Diverse Contexts
3(14)
How Woodwind Instruments Work
3(2)
The Contexts of Woodwind Performance and Teaching in Schools
5(1)
How People Learn
6(4)
How You Learn
10(2)
Instrument Selection and Assignment
12(5)
PART 2 TEACHING THE INSTRUMENTS
17(208)
2 Flute
19(33)
Flute Tone and Early Stage Embouchure
19(7)
Flute Assembly, Disassembly, and Care
26(1)
Flute Hand Position
27(3)
Flute Tone Development
30(7)
Flute Tonguing
37(3)
The Flute Mechanism
40(6)
Study Questions
46(2)
Performance Testing of University Students on Secondary Instruments
48(2)
Flute Fingering Chart
50(2)
3 Clarinet
52(50)
Clarinet Tone and Early Stage Embouchure
52(10)
Clarinet Assembly, Disassembly, and Basic Care
62(2)
Clarinet Hand Position
64(2)
Clarinet Tone Development
66(7)
Clarinet Tonguing
73(3)
The Clarinet Mechanism
76(20)
Study Questions
96(2)
Performance Testing of University Students on Secondary Instruments
98(2)
Clarinet Fingering Chart
100(2)
4 Saxophone
102(36)
Saxophone Tone and Early Stage Embouchure
102(10)
Saxophone Assembly, Disassembly, and Basic Care
112(2)
Saxophone Hand Position
114(1)
Saxophone Tone Development
115(5)
Saxophone Tonguing
120(2)
The Saxophone Mechanism
122(10)
Study Questions
132(2)
Performance Testing of University Students on Secondary Instruments
134(2)
Saxophone Fingering Chart
136(2)
5 Oboe
138(37)
Potential for Success in Oboe Study
138(1)
Oboe Tone and Early Stage Embouchure
139(1)
Oboe Assembly, Disassembly, and Basic Care
140(2)
Oboe Posture, Hands, and Holding
142(1)
Oboe Tone Development
143(7)
Oboe Tonguing
150(1)
The Oboe Mechanism
150(14)
Initial Playing Material
164(6)
Study Questions
170(1)
Performance Testing of University Students on Secondary Instruments
171(2)
Oboe Fingering Chart
173(2)
6 Bassoon
175(50)
Potential for Success in Bassoon Study
175(1)
Bassoon Tone and Early Stage Embouchure
176(3)
Bassoon Assembly, Disassembly, and Basic Care
179(7)
Bassoon Posture, Hands, and Holding
186(3)
Bassoon Tone Development
189(6)
Bassoon Tonguing
195(1)
The Bassoon Mechanism
196(15)
Initial Playing Material
211(6)
Study Questions
217(2)
Performance Testing of University Students on Secondary Instruments
219(2)
Bassoon Fingering Chart
221(4)
PART 3 THINKING FOUNDATIONALLY ABOUT THE WOODWINDS AND WOODWIND TEACHING
225(32)
7 Using Foundations for Perspective
227(30)
Foundations of Tone Quality
227(3)
Foundations of Teaching
230(6)
Foundations of Assembly and Disassembly
236(1)
Foundations of Instrument Care
237(4)
Foundations of Posture, Hands, and Holding
241(2)
Foundations of Tonguing and Articulation
243(3)
Foundation of the Mechanism
246(6)
Foundations of Tuning and Intonation
252(2)
Foundations of Reed and Mouthpiece
254(2)
Foundations: Professional Organizations and Periodicals
256(1)
Notes on the Author 257(2)
Index 259
James L. Byo is Carl Prince Matthies Professor of Music Education at Louisiana State University in Baton Rouge.